At the Guardian, Sam Jordinson reflects on the many moments of sexual tension found in Edith Wharton’s Pulitzer-winning novel, The Age of Innocence. “Every small moment takes on huge significance,” Jordinson writes. “Archer and May’s brief disagreements over whether or not windows should be left open somehow say more about the state of their relationship than any number of screaming rows might have done. There are all kinds of similar telepathies with flowers sent and not sent, envelopes left empty, parties attended and avoided. There’s also a blink-and-you’ll-miss-it ‘tremble’ in a library that changes the destiny of all the main characters in an instant. As a reader, the very act of decoding these messages immerses you ever deeper in the attitudes and customs of this strange world. It makes for a fascinating, engrossing experience.”
Our own founding editor C. Max Magee is teaming up with our friends at The Bygone Bureau and The Morning News to give a panel discussion at SXSW Interactive 2013 on the future of independent longform writing on the web. If you wanna see the panel make it to Austin, head over the SXSW site to give us your vote. You can register to vote here.
It’s turning into Speedboat Week here, so why not spend the weekend with some of Renata Adler‘s most renowned nonfiction? Her controversial reassessment of Pauline Kael (featuring “A Limitless Capacity to Inquire,” one of the best found poems you’ll ever read) is at the NYRB, and her deep dive into l’affaire Lewinski can be found at the L.A. Times. Interestingly, as Sarah Weinman points out, Adler’s 2001 book about the Bilderberg Conferences still hasn’t seen the light of day. (“Who suppresses manuscripts? We do!”)
The Rumpus is coming to your iPad or iPhone. The magazine just launched its new app, The Weekly Rumpus. The app features the best of The Rumpus’s weekly content, original short fiction, and upcoming articles every Wednesday. The app and its first issue are free, but you can subscribe for $3.99 a month or $25.99 a year.
“If I could paint or compose music, I would want to finally arrive at what I felt was beauty for me and for others. I would trust that if I could make something that was beautiful, it would also be true, the way Charlie Parker is true or a Shostakovich cello concerto is true, and I feel the same way about writing. I try to make something beautiful out of language.” Fogged Clarity interviews Stuart Dybek about the writing process and Ecstatic Cahoots, which we mentioned in our 2014 Book Preview.